A selection of fifty stories from Jeff Noon's head, each one strange, telling, disturbing, or sometimes just plain wierd.From the breakdown zones of the mediasphere and the margins of music culture, Jeff Noon samples the image mix. Product recalls, adverts for mad gadjets, dubcut prose remixes, urban fairytales, instructions for lost machines, almost-true tales, dreamy one-pagers, word-dizzy roller coasters. With new stories from the Vurt cycle and other revelations, including the discovery of an 'off' switch for the human body this newly revised edition marks the first time that Pixel Juice has been made available digitally.

    He is considered by Octavio Paz to be instrumental to the genesis of modern Latin American poetry and “one of the best poets” of the Spanish language. Toward the end of his life, he had published for over fifty years and brought in crowds of more than 3,000 to a readings in his native country. Coined the “Sniper of Literature” by Cuban poet Roberto Fernández Retamar, Sabines brought poetry to the streets. His vernacular, authentic poems are accessible: meant not for other poets, or the established or elite, but for himself and for the people.In this translation of his fourth book, Tarumba, we find ourselves stepping into Sabines’ streets, brothels, hospitals, and cantinas; the most bittersweet details are told in a way that reaffirms: “Life bursts from you, like scarlet fever, without warning.” Eloquently co-translated by Philip Levine and the late Ernesto Trejo, this bilingual edition is a classic for Spanish- and English-speaking readers alike. Secretive, wild, and searching, these poems are rife with such intensity you’ll feel “heaven is sucking you up through the roof.” Jaime Sabines was born on March 25, 1926 in Chiapas, Mexico. In 1945, he relocated to Mexico City where he studied Medicine for three years before turning his attention to Philosophy and Literature at the University of Mexico. He wrote eight books of poetry, including Horal (1950), Tarumba (1956), and Maltiempo (1972), for which he received the Xavier Villaurrutia Award. In 1959, Sabines was granted the Chiapas Prize and, in 1983, the National Literature Award. In addition to his literary career, Sabines served as a congressman for Chiapas. Jaime Sabines died in 1999; he remains one of Mexico’s most respected poets.  Philip Levine (translator) was born in Detroit, Michigan, in 1928. He is the author of sixteen books of poetry, most recently Breath (Alfred A. Knopf, 2004). His other poetry collections include The Mercy (1999); The Simple Truth (1994), which won the Pulitzer Prize; What Work Is (1991), which won the National Book Award; New Selected Poems (1991); Ashes: Poems New and Old (1979), which received the National Book Critics Circle Award and the first American Book Award for Poetry; 7 Years From Somewhere (1979), which won the National Book Critics Circle Award; and The Names of the Lost (1975), which won the Lenore Marshall Poetry Prize. He has received the Ruth Lilly Poetry Prize, the Harriet Monroe Memorial Prize from Poetry, the Frank O'Hara Prize, and two Guggenheim Foundation fellowships. Philip Levine lives in New York City and Fresno, California, and teaches at New York University.

    One of the UK’s most exciting up-and-coming hip-hop artists, Scroobius Pip, is a master of the spoken word lyric.From his childhood musings in the school playground to his feelings on the rat race, Pip has selected from his online fan collective artistic collaborations that bring the power of his lyrics to the printed page, creating an innovative multimedia collection of modern poetry.

    The official "Red Meat" Web site averages 30,000 page views a week. This collection offers readers a peek at the strip that's caused all the commotion.

    But the time has come for a deeper dose of Brezsny's brain. The Televisionary Oracle is an archetypal roller-coaster that would make Rumi dizzy and leave Carl Jung gasping for breath.

    He's set to wrestle and study creative writing at Columbia University in New York. These poems are a look into his early experiences with love and loss, an introspective coming of age tale told in verse.

    Reading it is like listening to the silence in the public squares painted by Giorgio de Chirico. Like Chirico, Jahnn is a master of the eerie and the inexplicable. It would be presumptuous to explain the fable contained in these pages; its meaning will differ from reader to reader. Yet it is obvious that the author intended us to know that our hold on reality is at best a treacherous delusion. When Gustav bent down to retrieve the suitcase he had so thoughtlessly kicked under the berth, he found that where a wall should have been there was no wall but only infinite space. Since this three-masted ship had been designed by a competent Scot, Gustav was puzzled. But he had only begun to be bewildered. Locked doors sprang open at the touch of an invisible hand, and the supercargo was unwilling to dispel anxiety with an answer. With microphones placed at strategic points throughout the ship, the supercargo spied on everyone, angrily insisting that no member of the crew should attempt to fathom the nature of the cargo.When Gustav's fiancee vanished, Gustav acted less like a hero than a victim of a nightmare. The Ship itself is a nightmare, contrived by a writer with an iron will.

    

    The paintings are in brilliant color and each features the Japanese parasol.Matsuo Basho (1644 - 1694) was born Matsuo Kinsaku during the early Edo period in Japan. During his lifetime, Basho was recognized for his work in a poetic form that was a precursor to the haiku. Over the course of time, Basho became recognized as an unparalleled master of the haiku. His work is internationally renowned, and his poems are reproduced at many historical sites in Japan.

    104 pages of gossiping, loving and pestering of the British upper class, accompanied by illustrations, will definitely not disappoint.

    Polizzotti reconstructs Breton's intense and formative friendships with Man Ray, Duchamp, Dali, and Miro, among others; his legendary encounters with Trotsky, Freud, and Sartre; and his several marriages and love affairs.

    Readers of Rosamunde Pilcher, Maeve Binchy and Fiona Valpy will not be disappointed. 'Sallis's West Country novel has the feel of Mary Wesley and character insight that is all her own' -- Daily Mail'Sallis brings out the innate warmth and sometimes unpredictability of the human psyche. This compelling tale will not disappoint' -- Lancashire Evening Post'Excellent read, very enjoyable' - ***** Reader review'Wonderful' - ***** Reader review'I love her books and the way that she takes you right into the story...You can tell I am a big fan!' - ***** Reader review'Brilliant, I couldn't put it down.' - ***** Reader review*********************************************************************FRIENDS SINCE CHILDHOOD, THEY THOUGHT NOTHING COULD COME BETWEEN THEM...1943: two schoolgirls, Rachel and Meriel, best friends, amuse themselves by tracking down imaginary German spies. It all seems a harmless way of whiling away the long school holidays, until their game turns into a frightening reality, the consequences of which affect their whole lives.Rachel becomes a reporter on the local paper while Meriel, a GI bride, goes to live in Florida.But the bonds which hold them together can never be broken, as the secrets and scandals which first surfaced in those far-off wartime days eventually come to light.

    Savor the smell of a phone booth, circa 1961. Sign up for a guided tour of the oldest continually vacant storefront in America. Attend a championship grave-digging competition, or, should you feel you've wasted yet another day, you can check in for help at a local Misspent Youth Center.In "The Beauty Supply District," a new twenty-four-page story, Knipl attends an evening concert and unwittingly enters the world of wholesale empathizers and chiaroscuro brokers who make the decisions critical to the production of aesthetic pleasure in all its forms -- from the shape of an olive jar to the score of a string quartet.From the Hardcover edition.

    Yet for all their metaphorical suggestiveness, Dickinson’s and Whitman’s poems about the natural world neither preclude nor erase nature’s relevance as an actual living environment. In their respective poetic projects, the earth matters both figuratively, as a realm of the imagination, and also as the physical ground that is profoundly affected by human action. This double perspective, and the ways in which it intersects with their formal innovations, points beyond their traditional status as curiously disparate icons of American nature poetry. That both of them not only approach nature as an important subject in its own right, but also address human-nature relationships in ethical terms, invests their work with important environmental overtones. Dickinson and Whitman developed their environmentally suggestive poetics at roughly the same historical moment, at a time when a major shift was occurring in American culture’s view and understanding of the natural world. Just as they were achieving poetic maturity, the dominant view of wilderness was beginning to shift from obstacle or exploitable resource to an endangered treasure in need of conservation and preservation.A Place for Humility examines Dickinson’s and Whitman’s poetry in conjunction with this important change in American environmental perception, exploring the links between their poetic projects within the context of developing nineteenth-century environmental thought. Christine Gerhardt argues that each author's poetry participates in this shift in different but related ways, and that their involvement with their culture’s growing environmental sensibilities constitutes an important connection between their disparate poetic projects. There may be few direct links between Dickinson’s “letter to the World” and Whitman’s “language experiment,” but via a web of environmentally-oriented discourses, their poetry engages in a cultural conversation about the natural world and the possibilities and limitations of writing about it—a conversation in which their thematic and formal choices meet on a surprising number of levels.

    This edition, containing an extensive introduction, notes, the French original, and a new translation of Césaire's poetry—the complex and challenging later works as well as the famous Notebook—will remain the definitive Césaire in English.